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Intriguing First Trailer For James Franco's Pretenders

We have an interesting new trailer for you to check out from the film previously known as The Pretenders, now being released as Pretenders. The film is written by The Fault in Our Stars director — and New Mutants writer — Josh Boone, and directed by director and Golden Globe-winning actor James Franco, of The Disaster Artist.

The film follows the love triangle of a photographer, a director, and an actress. Here’s the synopsis:

Pretenders, life imitates deadly arts as a French New Wave obsessed film student, Terry, finds his muse in mysterious and beguiling actress, Catherine. Both Terry and his best friend, Phil, fall under the spell of this beautiful woman. But they soon realize that the more time they spend with her, the more enigmatic she becomes. After years of sex, betrayal, and collateral damage, the three end up in a dangerous situation that leaves one of them fighting for his life.
See full article at GeekTyrant »

Pretenders Trailer Pulls James Franco & Dennis Quaid Into a Wicked Love Triangle

Pretenders Trailer Pulls James Franco & Dennis Quaid Into a Wicked Love Triangle
The first trailer for James Franco's latest movie Pretenders is here. Franco has had his share of troubles in recent years, after facing multiple accusations of sexual misconduct in the wake of the #MeToo movement. But it hasn't slowed down his creative output any. Not only is Franco starring in a minor role here, but he also serves as director. Now, we have a look at the movie which looks to be a small-scale, human drama that tackles a messy tale of love in the movie business.

The trailer paints an image of a few young dreamers kicking around in late 1970s/early 1980s New York. It doesn't take long before we get to the heart of the issue here. A young filmmaker falls in love with a girl, and his friend similarly becomes stricken by the very same girl. A messy love triangle springs up and we see the situation progress overtime.
See full article at MovieWeb »

First Full Trailer for James Franco's Love Triangle Film 'Pretenders'

"Was their love something real? He has to find out." Cleopatra Entertainment has released the first full trailer for an indie drama titled Pretenders, also otherwise known as The Pretenders, but they're officially releasing it as just Pretenders. Yet another new film directed by James Franco, in addition to Zeroville also out in the next few months. He's making so many films these days it's hard to keep track of them. And does anyone even watch them? Who knows. Pretenders is about a love triangle involving a photographer, his best friend who is a "French New Wave-obsessed" film student, and a beautiful actress who entrances both of them. Starring Jack Kilmer (Val Kilmer's son), Shameik Moore, and Jane Levy as the main three, with James Franco, Dennis Quaid, Brian Cox, Juno Temple, Antoni Porowski, Mustafa Shakir, Tyler Alvarez, and Reema Sampat. This seems particularly wacky and super artsy, almost
See full article at FirstShowing.net »

James Franco’s Pretenders gets a first trailer and poster

Ahead of its release this October, a poster and trailer have arrived online for the upcoming drama Pretenders. Directed by James Franco, who also stars in the film, it focuses on a love triangle involving a film student, his best friend and an actress, and features a cast that also includes Jack Kilmer, Shameik Moore, Jane Levy, Juno Temple, Brian Cox, and Dennis Quaid; take a look here…

Pretenders, life imitates deadly arts as a French New Wave obsessed film student, Terry, finds his muse in mysterious and beguiling actress, Catherine. Both Terry and his best friend, Phil, fall under the spell of this beautiful woman. But they soon realize that the more time they spend with her, the more enigmatic she becomes. After years of sex, betrayal, and collateral damage, the three end up in a dangerous situation that leaves one of them fighting for his life.

Pretenders is
See full article at Flickeringmyth »

‘The Pretenders’ Trailer: We Just Can’t Keep Up With All These James Franco-Directed Films Anymore

Sometimes there’s a film that falls between the cracks and doesn’t make much of an impact when it debuts at a film festival, even if the project is written by a big-time filmmaker, directed by a huge name, and has an impressive cast. Case in point — “The Pretenders.”

The plot for ‘Pretenders’ is pretty easy to sum up. A film student meets a girl that makes a huge impact on his life.

Continue reading ‘The Pretenders’ Trailer: We Just Can’t Keep Up With All These James Franco-Directed Films Anymore at The Playlist.
See full article at The Playlist »

Val Kilmer's Son Jack Stars in New Movie Directed by James Franco — Watch Pretenders Trailer

Val Kilmer's Son Jack Stars in New Movie Directed by James Franco — Watch Pretenders Trailer
Val Kilmer‘s son Jack is entering the family business.

24-year-old Jack stars as Terry in Pretenders — a drama about the changing dynamic in a group of friends. The movie, directed by James Franco, also stars Shameik Moore and Jane Levy and follows a dangerous love triangle between a photographer, his director best friend and the actress they both end up falling for.

“She needs us. I give her the bad boy that she will never tame, and you give her true, unrequited love she can feel wistful about on rainy days,” Moore’s Phil tells Kilmer’s Terry near the end of the trailer,
See full article at PEOPLE.com »

Film Review: ‘Pretenders’

  • Variety
Film Review: ‘Pretenders’
At the beginning of Bernardo Bertolucci’s “The Dreamers,” his 2003 tribute to the French New Wave, Matthew, the naïve American studying in Paris, refers to true lovers of cinema as “the insatiables.” James Franco, with his 150 acting credits, 39 directing credits, 25 writing credits, and single credit as “boom operator,” is one of the industry’s most insatiable insatiables. So it’s fitting that his peripatetic career has led him to direct “Pretenders,” essentially a remake of “The Dreamers,” that combines Bertolucci’s decadent appreciation of New Wave cool with the love triangle from François Truffaut’s 1962 touchstone, “Jules and Jim.”

Moving the action to 1980s New York adds an urban-contemporary feel and an identifiable environment for events to unfold. But while the film’s sense of experimentation carries a fair amount of intrigue, it traps its central threesome in an Easter egg-filled intellectual exercise punctuated by melodramatic strokes. It’s skillful
See full article at Variety »

Argentine Director Damián Szifron on 'Wild Tales' and Our Animal Instincts

Within the carefully constructed codes of conduct that most of us abide by, acting on impulse and the unpredictability of human nature are not welcomed. We are trained to rationalize our negative emotions in order to keep our civilization from collapsing into an ocean of chaos and anarchy. Obey the system and play by the rules. Of course, there are times in our lives when these parameters become obsolete and we give in to rage, violence, and revenge. It’s a terrifying quality of our species, but sometimes we believe getting retribution is the only way to quench our anger. In the Oscar-nominated film “Wild Tales” (Relatos Salvajes), Damián Szifron’s deranged and inventive ode to madness, we are confronted with the animal instincts that we so desperately try to hide - until we can’t. Betrayal, injustice, and even the need to avenge a loved one, drive Szifron’s characters into losing control. With pitch black comedy that is as universal as the situations it explores, his film is a hilarious and smart vehicle for sharp social commentary.

We had the chance to talk to Damián Szifron at the most recent AFI Film Festival where the film had its L.A. premier after touring the world from Cannes to Toronto.

"Wild Tales" opens today February 20, 2015 in Los Angeles (Arclight Hollywood/Landmark Theater) and in NYC (Lincoln Plaza Cinemas/Sunshine Cinema), a national roll-out will follow.

On March 6, 2015 the film will open the Miami International Film Festival

Aguilar: Although some people might just be becoming aware of your work via “Wild Tales,” you’ve work on TV and film for many years in Argentina.

Damián Szifron: I did two TV series and two films before "Wild Tales." The Simulators (Los Simuladores), Brothers and Detectives (Hermanos y Detectives,) “The Bottom of the Sea” (El Fondo del Mar) and “On Probation” ( Tiempo de Valientes,) after these projects I spend a long time writing and developing a lot of material, among them was “Wild Tales”

Aguilar: “Wild Tales” really shows us that anyone could simply renounce all rationality and act upon our most terrible instincts.

Damián Szifron: We are animals. We have our strong instincts just like wild beasts have them, but we, as humans, acquire an extra quality: repression. We can repress our instincts, which is something animals can't do. They are ruled by their instincts. We have conscience, memory, and we know that if we do "this" the consequences are "these." However, the price one pays for repressing these instincts is very high. It creates a lot of frustration and anguish. Sometimes we spend years thinking about what we should have said or what we should have done in a certain situation. But when we are confronted with situations in which repressing those instincts is almost impossible, we can definitely lose control. All of us can lose control of ourselves or at the very least we can all understand why someone loses it.

Each time I see or learn of an individual that has committed a barbaric act, I don’t see it as something that’s completely foreign or alien to me. I recognize myself in the potentiality that it could be anyone. If I see a person getting in a car and crashing it against a bank, I try to understand what could have taken that person to that point. It could have been me. Thankfully as a screenwriter or as a filmmaker, I can do something with the certain frustration that can be caused by a system that is so generous when it comes to producing situations that could drive you crazy. I can transform it into valuable material that I can share with others. Through cinema I can exorcise these issues, which is something that a lot of people can’t do.

Aguilar: The film is a like a book in which there are six different stories, but all of them are united by a single thematic threat. Tell me about the writing process.

Damián Szifron: I find a big connection between my film and literary anthologies. When I think about the film I realize that when I wrote it, I was thinking more about these anthologies than about other films. I was also thinking about musical concerts, rock shows, and even the way circus performances are arranged. I liked the idea that you have different musical numbers or performances, but they all exist within the context of the same show. There is the juggler, the lion tamer, and many others. There is something about this variety that I think the film showcases. It wasn’t like I thought about the title of the film first and then about the stories that conform this anthology. No, the stories each appeared separately. When I had four or five already developed, I noticed that they were related and that they departed from the same DNA. I feel like the film has many nuances, and sometimes I think that if I explain them too much I do it a disservice.

Aguilar: You had to cast actors for six different films, including one of Argentina’s most famous actors Ricardo Darin. What was the casting process like for a film like this?

Damián Szifron: It was one of the most beautiful parts of the preproduction process. I imagined the film with a lot of different faces. It was a really creative time. The nature of this project allowed us to invite actors that are really renowned in Argentina and that you don’t usually see together in the same film. Each one of them is usually the protagonist of their own film, but in this case each one of them is the protagonist of a particular episode.

Aguilar: One of the great aspects of the film is the music by Gustavo Santaolalla. Tell me about working with him on this visceral score.

Damián Szifron: He is a very talented musician. Gustavo was a producer for several rock bands for many years. He became very famous late in his career, and then he won two Oscars, but this was only after a lifetime of work. He can recognize what’s the energy of a certain show or a certain album, and in this film he helped me a lot to create the musical identity of the film. We met when I was in Europe to show Almodovar the first cut of the film, and Gustavo was in Belgium giving a lecture. I took a plane to meet him and we talked for an entire night. He knew the film by memory and he told me loved the screenplay. Two weeks later he sent me the music that used for the opening credits, and I loved it. I thought it was powerful but it was also very emotional. He completely understood the wavelength we were in and he condensed the DNA of the film in those two minutes of music. Then I came to Los Angeles and we worked on the rest of the score.

Aguilar: Wild Tales is representing your country at the Academy Awards, what does this mean to you?

Damián Szifron: I have the satisfaction that the film was chosen as the Argentine Oscar entry, which great because my colleagues, directors and producers in Argentine chose the film. There were even some that also had films that could have been selected, but they voted for my film, and that’s an honor.

Aguilar: The film has screened all over the world by now, and everywhere it goes the reactions are overwhelmingly positive. Why do you think your film connects with everyone regardless of their background?

Damián Szifron: We’ve screen the film in Cannes, Toronto, Telluride, San Sebastian, Sao Paulo, Karlovy Vary, and the film also won the Audience Award in several of these festivals. It was well received in diverse places, and I think it can be understood anywhere. During Cannes the film’s rights were bought for most territories around he globe and when you see the reaction of those who distribute films, it somewhat reflects what the audiences in those place might like. Distributors are part of the audience as well. The film can be understood anywhere because the conflicts that it tries to process are primitive and they are familiar to all human beings. Each episode deals with issues with which we can all identify regardless of the country we were born, because they talk about a man against the system, about competitiveness between two individuals, about a woman who has been betrayed during her wedding night, or about someone who plans to take revenge on all those who attempted against his success. I think these things get under the skin without much explanation.
See full article at SydneysBuzz »

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